Atkinson, Frederick

Introduction:

Brighton-born FREDERICK ATKINSON (ca.1825-1905) was the only offspring of well regarded prolific profilist George Atkinson (ca.1785-1851) to also earn a sustained income as an artist. From 1839, crafting creditable cut-work at two hugely popular Thames-side 'pleasure grounds' in Kent, he would by the mid 1850s, like several other contemporary profilists, turn to the relativley new art of photography. 

With the advent of London paddle-steamers and their 'day trippers' more than one developer had the notion that money could be made from the first land east of Greenwich high enough to offer elevated views of the Thames and it's environs. Only 20 miles from the Capital, two of the most frequented 'pleasure grounds'-as they became in the late 1830s-were Windmill Hill and Rosherville Gardens at Gravesend, Kent.

Given both locations volume of visitors suprisingly few profiles are extant. Though no full-length silhouettes are recorded, illustrated in Mckechnie are five bust-sized works on black paper. Crisply cut, four evidence skillful but sparingly applied gold highlights. Without gilding, the fifth, of a white collared boy, is dated 24th September, 1844. Bust-lines uniformly terminate in a long, marginly convex, slope. All works are housed in maple or rosewood frames, possibly supplied by the artist. The dated profile bears the stencil stamp 'Royal Saloon of Arts, Established 1839, by Mr. Atkinson, Windmill Hill, Gravesend. No Connection With Any Other Establishment'.

Current research established more than one 'Mr. Atkinson'' operated from Windmill Hill's 'Royal Saloon of Arts'. Both were sons of veteran profilist George Atkinson. The (March) 1841 Census of London St., Bethnal Green, Middlesex, recorded Atkinson, 56, an 'Artist', son William, 24, a 'Painter', with Frederick, 18, and John, 14 both 'Artists', while the 1851 Census recorded youngest daughter Mary Ann, 19, an 'Artist in Portraits'. Seemingly Atkinson was attempting to secure his offspring an artistic grounding. However nothing further is known of William and Mary Ann while John's last record appears in the SOUTHEASTERN GAZETTE 8th July 1845 as a '...portrait painter charged with following his worldly calling on Windmill Hill...[ on the Sabbath]. Pleading guilty '...with a good deal of assurance and nonchelence...[ he stated without Sunday employment, he] '...might as well give up altogether'.

A rare, contemporary print of Windmill Hill shows the named 'Atkinson's Royal Saloon of Arts' as a substantial stand-alone wooden octagonal pavilion with striped tented roof, striped pillared awning and window displaying multiple silhouettes.

Multiple silhouettes were certainly in demand in summer 1842, as an assistant was required to meet demand. And between June-August the SOUTH EASTERN GAZETTE recorded 'The Salon D'Arts superintended by Messrs Atkinson and Turner the celebrated profilists, whose talents in taking correct likenesses in one minute is unrivalled'. Though eluding further research, Turner may be the artist producing gold highlighted cut-work in London in the mid 1830s. After mentioning '...a great influx of visitors' the same newspaper 30th August stated both men '...have had their hands full; their large picture of a conversational group of George the Third and...the whole Royal Family, from the correctness of the likenesses, is atttacting universal attention; it is a picture we recommend all to see.' And Atkinson would create a similar 'Royal' work 12 years later.

Some point after the mid-1840s saw Frederick Atkinson recommend himself to the rival Rosherville Gardens, where, evidenced by his pbotographic trade card, he remained over 20 years. Landscaped from 17 acres of riverside chalk pits, the Gardens offered an archery ground, rifle gallery, bear pit, themed grottoes, refreshment rooms, music and fireworks 'weather permitting'.

The 2nd 'Royal' conversation piece is recorded in the KENTISH INDEPENDENT 10th June 1854, which stated 'Mr. Atkinson the Profilist is now exhibiting out of his Atelier a ROYAL FAMILY GROUP, being full-length profiles of all male members of the late Royal Family. They are copies of the original profiles taken by the father of Mr.Atkinson, who had the honour of taking them at Brighton some years hence'.

Signed and impressive, the work was reproduced in full in One Hundred Silhouettes...from the collection of Francis Wellesley (1912), and in part by McKechnie. Undoubtedly the figures were utilised and cut from stock royal profiles previously painted by Atkinson's late father George. The 'Royals' were placed on a painted, tolerably accurate representation of Carlton House, the sometime London residence of George the Fourth, and, much later, was said to have hung there. However, with the building being demolished in 1829, and the work now known to have been produced in 1854, the assertion is untenable.

Aged 79By 1856, Atkinson's stock-in-trade included photography, the KENTISH INDEPENDENT 17th May 1856 reporting that 'Mr.Atkinson is again to be found on the Chinese Lawn for bronze profiles and photographic portraits'. If Atkinson ever used a Rosherville Gardens stencil stamp, none have been recorded. Though continuing to work there. the Gardens' 'Season', like that at Windmill Hill, ran from May to late autumn. His later independent photographic studio offered the promise of year-round income. Evidently the venture was successful, as by 1851, he had relocated his growing family from Bethnal Green to Gravesend, remaining there for over 30 years.

Regarding his personal circumstances, he was the 3rd of 6 siblings, 4 sons, 2 daughters, born between ca. 1817-ca. 1832 to Ellen Atkinson (ca. 1789-1867). An absence of records suggests George Atkinson and Ellen (maiden name unknown) never wed or baptised their offspring. Son Frederick was only baptised in 1860, and his Brighton birthplace is only recorded in Census returns which, arguably, confirms the theory.

June 1848 saw Frederick Atkinson wed Mary Ann Temprell (1825-1916) at St.John's Bethnal Green. The daughter of a licensed victualler, between 1849-1869 she bore 9 children, 2 sons and 7 daughters. All reached adulthood. All bar the 1st were born in Gravesend, where his mother Ellen died in 1867.

1851-1881 Census returns recorded him in Gravesend as respectively a 'Miniature Painter', then 'Photographic Artist' and 'Photographer'. The 1891 Census located him with the same occupation in Springfield, Chelmsford, Essex, while the 1901 Census of Chadwell Heath, Essex recorded him a 76-year-old photographer listed with wife and 2 unwed daughters. The 1911 Census finds his widow Mary Ann and daughters Rebecca (1862-1937) and Alice (1865-post 1911) at Hale End Road, Chingford, Essex. Dying there, aged 91, she was buried in November 1916 alongside her husband at  St. Mary the Virgin, Ilford, Essex.

Aged 79, Frederick Atkinson was interred at  St. Mary the Virgin, Ilford, Essex, 24th February 1905.

REVISED: 31 May 2026 (Brian Wellings)